1 00:00:04,360 --> 00:00:11,400 Speaker 1: Get Text of Technology with tex staff from hosts dot com. 2 00:00:11,400 --> 00:00:14,560 Speaker 1: Hey there, and welcome to text Stuff. I'm Johnson Strickland 3 00:00:14,600 --> 00:00:18,480 Speaker 1: and join me again. Is Dylan done? Go back, thank you, 4 00:00:18,840 --> 00:00:21,680 Speaker 1: And we are now going to talk more about photo manipulation. 5 00:00:22,200 --> 00:00:24,520 Speaker 1: Now we're going to move into the post digital era. 6 00:00:24,680 --> 00:00:27,760 Speaker 1: So in our first episode we really concentrated on the 7 00:00:27,800 --> 00:00:31,400 Speaker 1: science of photography and how when we're talking about a 8 00:00:31,440 --> 00:00:36,360 Speaker 1: physical medium, something like film or plates or physical negatives, 9 00:00:36,800 --> 00:00:42,040 Speaker 1: the manipulation was very painstaking in some cases and required 10 00:00:42,479 --> 00:00:44,680 Speaker 1: a lot of work on the part of the photographer. 11 00:00:45,440 --> 00:00:49,680 Speaker 1: And the story changes dramatically once we get especially once 12 00:00:49,720 --> 00:00:53,040 Speaker 1: we get well into the post digital era, where we're 13 00:00:53,040 --> 00:00:59,240 Speaker 1: now talking about files not necessarily physical media, and it 14 00:00:59,360 --> 00:01:02,720 Speaker 1: opens up a whole new world of possibilities. Yeah. Now 15 00:01:02,880 --> 00:01:06,479 Speaker 1: it's you know, images on computers. That's nothing new. We've 16 00:01:06,480 --> 00:01:09,400 Speaker 1: had those for quite some time. I would argue that 17 00:01:09,480 --> 00:01:14,039 Speaker 1: perhaps the pivotal moment in the post digital era would 18 00:01:14,040 --> 00:01:17,560 Speaker 1: be nineteen eighties seven. That's when you have a PhD 19 00:01:17,640 --> 00:01:21,040 Speaker 1: student at the University of Michigan named Thomas Noel who 20 00:01:21,040 --> 00:01:24,160 Speaker 1: builds a program for the Mac Plus. He calls it display. 21 00:01:24,520 --> 00:01:27,760 Speaker 1: Oh yeah, yeah, Display everyone's using that these days, but 22 00:01:27,880 --> 00:01:29,600 Speaker 1: they are, They just don't know. Yeah, they just it's 23 00:01:29,680 --> 00:01:33,399 Speaker 1: just not called that anymore. Yeah. So in Night he 24 00:01:33,480 --> 00:01:37,759 Speaker 1: and his brother John Noel. John Noel was an effects expert, 25 00:01:38,120 --> 00:01:42,040 Speaker 1: a little company called Industrial Light and Magic. Yeah, so 26 00:01:42,080 --> 00:01:46,920 Speaker 1: a little, little known Hollywood effects studio, just one of 27 00:01:47,000 --> 00:01:51,400 Speaker 1: the smaller ones. Yeah, they put their heads together and 28 00:01:51,760 --> 00:01:54,120 Speaker 1: together they come up with an idea. They decided to 29 00:01:54,160 --> 00:01:58,680 Speaker 1: rename display and they call it Photoshop, and they license 30 00:01:58,760 --> 00:02:03,720 Speaker 1: it to a manufacturer of slide scanners, and the manufacturers 31 00:02:03,760 --> 00:02:08,400 Speaker 1: called Barney Scan. So the very first version of Photoshop, 32 00:02:08,440 --> 00:02:11,720 Speaker 1: which was not version one point, oh, it preceded version 33 00:02:11,800 --> 00:02:16,000 Speaker 1: one point It was version zero point eight seven. It 34 00:02:16,120 --> 00:02:20,200 Speaker 1: was included with about two hundred scanners. So are about 35 00:02:20,200 --> 00:02:24,560 Speaker 1: two hundred editions of Photoshop zero point eight seven out there? Wow, 36 00:02:24,639 --> 00:02:30,480 Speaker 1: that's a yeah, I guess. And in nineteen nine they 37 00:02:30,520 --> 00:02:34,119 Speaker 1: would sign a distribution deal with Adobe, and thus the 38 00:02:34,200 --> 00:02:40,120 Speaker 1: relationship with Adobe and Photoshop begins. Was also when we 39 00:02:40,200 --> 00:02:46,399 Speaker 1: get a famous incident of photo manipulation, a huge slap. 40 00:02:46,520 --> 00:02:50,880 Speaker 1: I would say, this was a TV guide cover. I 41 00:02:50,880 --> 00:02:54,800 Speaker 1: don't know if you're particularly familiar with this instance. It 42 00:02:54,919 --> 00:03:01,960 Speaker 1: is Oprah so this was pretty awful, I would say, Yeah, 43 00:03:02,160 --> 00:03:05,520 Speaker 1: So what what happened was TV Guide puts Oprah on 44 00:03:05,600 --> 00:03:08,799 Speaker 1: the cover. That's not the egregious, nasty, horrible part. Now, 45 00:03:08,840 --> 00:03:13,120 Speaker 1: that's that's perfectly fine. She was a ratings champion, absolutely 46 00:03:13,919 --> 00:03:16,880 Speaker 1: deserved to be on the cover of TV Yeah. What 47 00:03:16,880 --> 00:03:19,440 Speaker 1: what she did not deserve is is the way she 48 00:03:19,560 --> 00:03:23,920 Speaker 1: was portrayed. So what happened was they had cut her 49 00:03:24,000 --> 00:03:27,920 Speaker 1: head off of one picture and then superimposed it on 50 00:03:28,000 --> 00:03:31,320 Speaker 1: top of the body of Anne Margaret and a ten 51 00:03:31,400 --> 00:03:35,920 Speaker 1: year old photo of Ann Margaret at that from seventy nine. Yeah, 52 00:03:36,120 --> 00:03:41,040 Speaker 1: nineteen seventy nine publicity shot of Anne Margaret, different woman, 53 00:03:41,320 --> 00:03:48,400 Speaker 1: different race, and the It was immediately recognized by the 54 00:03:48,440 --> 00:03:51,120 Speaker 1: fashion designer for Ann Margaret, the person who designed the 55 00:03:51,200 --> 00:03:55,200 Speaker 1: dress and Margaret was wearing in that publicity photo and 56 00:03:55,440 --> 00:03:59,640 Speaker 1: clearly was the same photo obviously the exact same pose 57 00:03:59,720 --> 00:04:02,960 Speaker 1: and same body. It just had been manipulated so that 58 00:04:03,240 --> 00:04:06,960 Speaker 1: it was supposed to like Oprah's body. This was not 59 00:04:07,280 --> 00:04:12,320 Speaker 1: one of TV Guide's best moments, and it certainly was 60 00:04:12,360 --> 00:04:16,760 Speaker 1: one of those that really brought the the this photo 61 00:04:16,839 --> 00:04:21,440 Speaker 1: manipulation uh concept back into the public eye. Keep in 62 00:04:21,480 --> 00:04:24,400 Speaker 1: mind that a lot of the manipulations we talked about 63 00:04:24,400 --> 00:04:28,480 Speaker 1: in our first episode for a really long time, we're 64 00:04:28,520 --> 00:04:34,040 Speaker 1: not necessarily public knowledge. People weren't aware that a lot 65 00:04:34,080 --> 00:04:36,360 Speaker 1: of this was happening, you know. I think a lot 66 00:04:36,360 --> 00:04:40,320 Speaker 1: of people still believed that when you see a photograph, 67 00:04:40,600 --> 00:04:43,440 Speaker 1: what you're seeing is exactly the way it it rolled 68 00:04:43,480 --> 00:04:45,560 Speaker 1: out in real life. And I think a lot of 69 00:04:45,600 --> 00:04:48,400 Speaker 1: people now would still look at some of these photographs 70 00:04:48,400 --> 00:04:51,240 Speaker 1: from like the eighteen sixties and not know that there 71 00:04:51,360 --> 00:04:54,760 Speaker 1: was the ability to do manipulations like we're possible, right, 72 00:04:54,839 --> 00:04:56,640 Speaker 1: So if you were looking at, say some of the 73 00:04:56,680 --> 00:04:59,799 Speaker 1: spirit photography that we talked about in our last episode, 74 00:05:00,240 --> 00:05:04,240 Speaker 1: you might be led to believe that somehow the photographers 75 00:05:04,240 --> 00:05:08,320 Speaker 1: of the nineteenth century had an ability to capture spirits 76 00:05:08,320 --> 00:05:12,400 Speaker 1: in photographs. They weren't. They use double exposure. Double exposure 77 00:05:12,440 --> 00:05:14,760 Speaker 1: is no longer a thing. So maybe that's part of 78 00:05:14,760 --> 00:05:18,720 Speaker 1: the problem, because unless you're using film double exposure like 79 00:05:18,720 --> 00:05:21,760 Speaker 1: you could you could digitally create an effect that's like 80 00:05:21,800 --> 00:05:25,760 Speaker 1: double exposure. You can overlay one layer and photoshop on 81 00:05:25,839 --> 00:05:29,720 Speaker 1: another and change the opacity. Yes, but as far as 82 00:05:30,160 --> 00:05:35,360 Speaker 1: putting two pictures on the same piece of film, it's 83 00:05:35,400 --> 00:05:38,440 Speaker 1: not exactly the same. Yeah, yeah, it's it's I mean, 84 00:05:38,480 --> 00:05:40,680 Speaker 1: you can you can fake it so that you get 85 00:05:40,720 --> 00:05:43,080 Speaker 1: the same effect, but it's not it's definitely not the 86 00:05:43,120 --> 00:05:49,280 Speaker 1: same process. Nine was when Adobe Photoshop one point oh 87 00:05:49,480 --> 00:05:53,520 Speaker 1: would ship Happy Anniversary Photoshop. Hey, there you go. I 88 00:05:53,520 --> 00:05:56,080 Speaker 1: didn't even make them do the math comes in English major, 89 00:05:56,240 --> 00:06:00,840 Speaker 1: don't blame me. So here's here's something it's hard to believe. 90 00:06:02,080 --> 00:06:06,039 Speaker 1: Adobe Photoshop one point oh fit on a single three 91 00:06:06,040 --> 00:06:10,920 Speaker 1: and a half inch floppy disk. That's incredible. Yeah, yeah, yeah, 92 00:06:10,960 --> 00:06:14,039 Speaker 1: you think about the size of those those programs now, 93 00:06:14,680 --> 00:06:18,280 Speaker 1: and well, first of all, we don't use sloppy disks anymore. No, 94 00:06:19,200 --> 00:06:21,920 Speaker 1: I don't know if Photoshop still I guess you can 95 00:06:21,920 --> 00:06:25,800 Speaker 1: still physically, but most people download it from the cloud now, right, Yeah, 96 00:06:25,839 --> 00:06:29,440 Speaker 1: you get a digital download and it's sizeable. It would 97 00:06:29,440 --> 00:06:31,800 Speaker 1: take many three and a half inch disks to hold it. Now, 98 00:06:32,440 --> 00:06:35,920 Speaker 1: and the Photoshop one point oh contained several of the 99 00:06:35,960 --> 00:06:39,560 Speaker 1: tools that would later become the standard features of Photoshop. 100 00:06:39,760 --> 00:06:42,920 Speaker 1: That's pretty amazing to me. Yeah, the clone tool was 101 00:06:42,960 --> 00:06:46,360 Speaker 1: included in Photoshop one point oh. Yeah, and you you 102 00:06:46,360 --> 00:06:50,839 Speaker 1: you already had the ability to select certain certain parts 103 00:06:50,880 --> 00:06:57,159 Speaker 1: of an image and human saturation levels or tones. The 104 00:06:57,320 --> 00:07:00,960 Speaker 1: thinking since I never used one point. Oh, thinking back 105 00:07:01,000 --> 00:07:05,400 Speaker 1: and imagining that that was possible back then already in 106 00:07:05,440 --> 00:07:09,360 Speaker 1: some form is is pretty amazing. Although the great thing 107 00:07:09,400 --> 00:07:13,320 Speaker 1: about photoshop was that in comparison to its competitors, it 108 00:07:13,520 --> 00:07:17,840 Speaker 1: was it was easier, more intuitive, and that's the way 109 00:07:17,840 --> 00:07:21,200 Speaker 1: it was marketed. Right. So keep in mind that when 110 00:07:21,200 --> 00:07:24,400 Speaker 1: we talked about in Part one, those those those means 111 00:07:24,480 --> 00:07:28,960 Speaker 1: of manipulating and editing photos that was a specialized skill. 112 00:07:29,240 --> 00:07:32,160 Speaker 1: Like if you were not a photographer, chances are you 113 00:07:32,200 --> 00:07:37,080 Speaker 1: were unaware of how this this trickery or manipulation took place. 114 00:07:37,800 --> 00:07:40,840 Speaker 1: And it's almost like you can almost think of it 115 00:07:40,920 --> 00:07:44,680 Speaker 1: like a guild system. It wasn't formal like that, but 116 00:07:44,760 --> 00:07:46,240 Speaker 1: it was this thing that if you were not part 117 00:07:46,240 --> 00:07:50,040 Speaker 1: of that club, you were largely ignorant of what was 118 00:07:50,080 --> 00:07:53,200 Speaker 1: going on in order for that stuff to happen. Uh. 119 00:07:53,240 --> 00:07:56,920 Speaker 1: This approach meant that it suddenly became much more accessible. 120 00:07:56,920 --> 00:07:59,160 Speaker 1: It's still had a barrier to entry. There was still 121 00:07:59,200 --> 00:08:02,640 Speaker 1: a learning curve to be to be conquered, but it 122 00:08:02,720 --> 00:08:05,600 Speaker 1: was much lower than say having to go and and 123 00:08:05,800 --> 00:08:10,200 Speaker 1: roll in classes in photography and all the chemistry involved 124 00:08:10,240 --> 00:08:12,840 Speaker 1: there was there was no longer chemistry involved, and there 125 00:08:12,920 --> 00:08:15,680 Speaker 1: was no longer chemistry in a photo, which you didn't 126 00:08:15,680 --> 00:08:18,280 Speaker 1: need to have chemistry to development, and you didn't have 127 00:08:18,320 --> 00:08:20,640 Speaker 1: to go into the dark room and stand there with 128 00:08:20,680 --> 00:08:22,760 Speaker 1: the tools if you wanted to lighten a part of 129 00:08:22,760 --> 00:08:25,640 Speaker 1: an image or dark end. Yeah. I loved and you're 130 00:08:25,680 --> 00:08:27,960 Speaker 1: in the part one you talked about the experience of 131 00:08:28,000 --> 00:08:31,240 Speaker 1: going into a pitch black room in order to manipulate 132 00:08:31,280 --> 00:08:34,280 Speaker 1: a camera so that you don't expose the film to light, 133 00:08:34,800 --> 00:08:38,599 Speaker 1: thus ruining the film because obviously the film is as photoreactive. 134 00:08:38,760 --> 00:08:41,760 Speaker 1: You can't. Since it's photoreactive, any light is going to 135 00:08:42,040 --> 00:08:45,280 Speaker 1: make it react. And the idea of fumbling around in 136 00:08:45,320 --> 00:08:47,439 Speaker 1: the dark that first time, where you're trying to build 137 00:08:47,480 --> 00:08:50,880 Speaker 1: that familiarity, it made me think of every scene in 138 00:08:50,960 --> 00:08:54,680 Speaker 1: every military movie where someone has to take apart a 139 00:08:54,760 --> 00:08:57,960 Speaker 1: gun and then reassemble. It was like, this sounds like that, 140 00:08:58,000 --> 00:09:00,600 Speaker 1: Like that, like after after week five, verse six, you 141 00:09:00,720 --> 00:09:03,840 Speaker 1: just confidently just you're not even thinking about it's no 142 00:09:03,880 --> 00:09:06,800 Speaker 1: longer conscious thought, it's just muscle memory. Yeah, and that 143 00:09:07,240 --> 00:09:10,720 Speaker 1: that's that's great, But it's also great now as much 144 00:09:10,760 --> 00:09:12,600 Speaker 1: as I love film photography. To do that on a 145 00:09:12,679 --> 00:09:15,560 Speaker 1: daily basis is not as easy as taking a digital 146 00:09:15,679 --> 00:09:19,640 Speaker 1: SLR and putting an SD card. Yeah, it turns out that, 147 00:09:19,720 --> 00:09:21,760 Speaker 1: you know, you can even do that with the lights on. 148 00:09:22,080 --> 00:09:27,439 Speaker 1: You can. Yeah, that's great. So. The cool thing also 149 00:09:27,480 --> 00:09:30,200 Speaker 1: about Adobe Photoshop one point oh is it was being 150 00:09:30,360 --> 00:09:35,040 Speaker 1: used for some really high profile, uh feature films at 151 00:09:35,080 --> 00:09:38,240 Speaker 1: the time. There were actual effects studios that were using 152 00:09:38,440 --> 00:09:42,920 Speaker 1: elements of Photoshop to work on composite digital shots of 153 00:09:42,960 --> 00:09:48,080 Speaker 1: their films, including movies like The Abyss. So that's James 154 00:09:48,120 --> 00:09:51,600 Speaker 1: Cameron's big movie that depending on which version you're seeing, 155 00:09:51,600 --> 00:09:54,960 Speaker 1: you're dedicating about four hours of your life. Too. There's 156 00:09:54,960 --> 00:10:01,199 Speaker 1: The Rocketeer, which highly underrated fantastic sci fi fantasy film. Yeah, yeah, 157 00:10:01,200 --> 00:10:04,080 Speaker 1: I remember seeing that one of us really young. It's 158 00:10:04,080 --> 00:10:06,440 Speaker 1: a it's great. It's a great movie. Go check it out. 159 00:10:06,440 --> 00:10:07,839 Speaker 1: If you haven't seen The Rocket here, you got to 160 00:10:07,840 --> 00:10:09,679 Speaker 1: see the Rocket here. So it's actually a really good 161 00:10:09,720 --> 00:10:14,320 Speaker 1: superhero film. It just didn't get adopted by a larger 162 00:10:14,520 --> 00:10:17,760 Speaker 1: audience the way some of the ones today did. Terminator 163 00:10:17,800 --> 00:10:20,040 Speaker 1: two was one of the movies that phoms Shop one 164 00:10:20,080 --> 00:10:24,360 Speaker 1: point oh influenced. Wow James Cameron. Ye, so if you uh, 165 00:10:24,640 --> 00:10:27,719 Speaker 1: if you you know, if you really want to celebrate, 166 00:10:27,800 --> 00:10:31,560 Speaker 1: give photoshop one point. I a very slowly descending thumbs up. 167 00:10:33,000 --> 00:10:35,679 Speaker 1: And then one of one of a movie that I 168 00:10:35,760 --> 00:10:40,920 Speaker 1: love despite its flaws, Hook, Steven Spielberg movie. Really Yeah, 169 00:10:41,000 --> 00:10:44,840 Speaker 1: the the Steven Spielberg Retelling of Peter Pan, where Robin 170 00:10:44,920 --> 00:10:47,400 Speaker 1: Williams is a grown up Peter Pan and Dustin Hoffman 171 00:10:47,559 --> 00:10:51,360 Speaker 1: is Captain Hook. Uh. Dustin Hoffman, by the way, phenomenal 172 00:10:51,440 --> 00:10:53,839 Speaker 1: Captain Hook, one of my I loved his performance. I 173 00:10:53,920 --> 00:10:56,280 Speaker 1: wish there were more Hook in the movie Hook, because 174 00:10:56,280 --> 00:10:58,600 Speaker 1: every time he was on screen, I was happy. It's 175 00:10:58,600 --> 00:11:01,400 Speaker 1: just pretty phenomenal. Yeah. Uh. It was a totally different 176 00:11:02,160 --> 00:11:04,760 Speaker 1: style of Hook than I was anticipating, and I loved 177 00:11:04,760 --> 00:11:08,800 Speaker 1: every second of it. Anyway, all of those had influence 178 00:11:08,840 --> 00:11:12,199 Speaker 1: from photoshop. There were digital composites, and we talked previously 179 00:11:12,240 --> 00:11:16,120 Speaker 1: in the earlier episode about composite photographs. In that sense, 180 00:11:16,440 --> 00:11:19,600 Speaker 1: there were composites that were completely made through analog methods 181 00:11:19,600 --> 00:11:22,280 Speaker 1: where you're literally cutting and pasting either in a negative 182 00:11:22,280 --> 00:11:24,920 Speaker 1: form or print form and taking a new photograph whatever 183 00:11:24,960 --> 00:11:28,520 Speaker 1: it may be. But you were putting together two or 184 00:11:28,600 --> 00:11:32,800 Speaker 1: more images to create a new image that's a composite 185 00:11:32,840 --> 00:11:35,880 Speaker 1: of those previous ones. Now we're talking about doing the 186 00:11:35,920 --> 00:11:39,480 Speaker 1: same thing but using digital tools, which gives you a 187 00:11:39,480 --> 00:11:43,680 Speaker 1: lot more freedom. It does, and and soon thereafter I 188 00:11:43,720 --> 00:11:46,560 Speaker 1: think three point oh was the introduction of layers, which 189 00:11:46,679 --> 00:11:52,040 Speaker 1: changes everything. Yeah, you have non destructive editing. Please can 190 00:11:52,080 --> 00:11:55,200 Speaker 1: you explain what that is? Non destructive editing is a 191 00:11:55,280 --> 00:12:01,080 Speaker 1: godsend because, uh, I guess when those people maybe open 192 00:12:01,160 --> 00:12:03,960 Speaker 1: up Photoshop for the first time and they're messing around, 193 00:12:04,040 --> 00:12:06,240 Speaker 1: you see things like the eraser things that kind of 194 00:12:06,240 --> 00:12:08,240 Speaker 1: makes sense. Like maybe if you ever opened up a 195 00:12:08,240 --> 00:12:10,040 Speaker 1: picture in MS paint and you thought, like, I can 196 00:12:10,120 --> 00:12:14,360 Speaker 1: paint on this. But once you do that, you're you're 197 00:12:14,400 --> 00:12:16,520 Speaker 1: you're limited by how many times you can hit the 198 00:12:16,600 --> 00:12:21,959 Speaker 1: undue button. But with layers, um you can continually add 199 00:12:22,000 --> 00:12:27,040 Speaker 1: on different elements, on on different on. The best way 200 00:12:27,080 --> 00:12:29,040 Speaker 1: to say is layers. So it's like putting pieces of 201 00:12:29,080 --> 00:12:32,360 Speaker 1: paper over one another kind of clear acetate as maybe 202 00:12:32,920 --> 00:12:38,800 Speaker 1: and and so if you uh subtract from one part 203 00:12:38,840 --> 00:12:40,760 Speaker 1: of that layer, if you still have a copy of 204 00:12:40,800 --> 00:12:44,880 Speaker 1: that underneath, nothing's going to happen to the original part 205 00:12:44,920 --> 00:12:46,560 Speaker 1: of that image. You're and you're still going to have 206 00:12:46,640 --> 00:12:49,480 Speaker 1: on the bottom layer. If you don't edit that layer 207 00:12:49,880 --> 00:12:52,160 Speaker 1: the whole image, you're still going to have the whole image. 208 00:12:52,320 --> 00:12:55,560 Speaker 1: So you have your original as the base, the foundation, yes, 209 00:12:55,640 --> 00:12:57,760 Speaker 1: and then you lay other layers on top of it. 210 00:12:57,800 --> 00:13:00,480 Speaker 1: That's where you can do your manipulation. And then you decide, 211 00:13:00,520 --> 00:13:03,120 Speaker 1: maybe you decide, you know, I took that balloon out, 212 00:13:03,360 --> 00:13:05,360 Speaker 1: but I actually kind of want that balloon back in. 213 00:13:05,440 --> 00:13:07,400 Speaker 1: Now that I've done these other edits, I'm gonna go back, 214 00:13:07,559 --> 00:13:10,160 Speaker 1: re add that one layer or undo what I did 215 00:13:10,280 --> 00:13:13,120 Speaker 1: on that one layer, and now it's as if by 216 00:13:13,160 --> 00:13:16,360 Speaker 1: magic we get the balloon back exactly. And and I'm 217 00:13:16,400 --> 00:13:17,960 Speaker 1: sure a lot of people have noticed that you have 218 00:13:18,440 --> 00:13:22,280 Speaker 1: at the top of your your application, you have different 219 00:13:22,320 --> 00:13:24,480 Speaker 1: tabs on them. Is like adjustments, and you can go 220 00:13:24,520 --> 00:13:29,040 Speaker 1: and you can change the contrast, the saturation, things like that. Well, 221 00:13:29,160 --> 00:13:32,480 Speaker 1: with adjustment layers, you can add that on and then 222 00:13:32,559 --> 00:13:35,640 Speaker 1: you can you can turn off that layer and the 223 00:13:35,679 --> 00:13:38,720 Speaker 1: effect goes away. If you do that through the file 224 00:13:38,800 --> 00:13:43,679 Speaker 1: menu at the top, it changes the picture permanently. If 225 00:13:43,720 --> 00:13:45,760 Speaker 1: you can't, if you don't hit the back button, if 226 00:13:45,760 --> 00:13:48,040 Speaker 1: you don't have undo, yeah, yeah, as long as you 227 00:13:48,520 --> 00:13:51,640 Speaker 1: or or if you avoid saving it, you still have 228 00:13:51,679 --> 00:13:54,480 Speaker 1: your original. But then what's the point of doing all 229 00:13:54,520 --> 00:13:57,200 Speaker 1: the work? Yeah, it's a great point. I mean I've 230 00:13:57,200 --> 00:14:01,199 Speaker 1: often wondered because as someone who had only casually use 231 00:14:01,320 --> 00:14:04,960 Speaker 1: these editing tools myself, Uh, it took a while for 232 00:14:05,040 --> 00:14:08,760 Speaker 1: me to figure out what layers were, and um, like 233 00:14:08,800 --> 00:14:13,000 Speaker 1: I remember specifically using them to do things like if 234 00:14:13,040 --> 00:14:18,600 Speaker 1: I wanted to take an image but remove, like remove 235 00:14:18,640 --> 00:14:20,880 Speaker 1: an image on a white background, Like let's say it's 236 00:14:20,880 --> 00:14:23,360 Speaker 1: a stock photo of something, and I want to put 237 00:14:23,440 --> 00:14:26,120 Speaker 1: that image, the image of that thing on some other 238 00:14:26,160 --> 00:14:28,880 Speaker 1: background and not have a big white box behind it. 239 00:14:29,560 --> 00:14:31,840 Speaker 1: That's when it was it was useful if that was 240 00:14:31,880 --> 00:14:33,920 Speaker 1: a layer itself, like I could take the layer that 241 00:14:34,000 --> 00:14:38,240 Speaker 1: had the object and leave the white background behind, so 242 00:14:38,320 --> 00:14:40,760 Speaker 1: I could actually put that against a different background and 243 00:14:40,800 --> 00:14:42,880 Speaker 1: have it look like it meant it was meant to be. 244 00:14:42,960 --> 00:14:46,640 Speaker 1: There another huge breakthrough his masks. And if use layers 245 00:14:46,680 --> 00:14:50,800 Speaker 1: and masks together, you have so much control and and 246 00:14:51,080 --> 00:14:54,400 Speaker 1: it's you can go backwards or forwards as much as 247 00:14:54,440 --> 00:14:57,400 Speaker 1: you want in your document. With with masks, you can 248 00:14:58,360 --> 00:15:01,320 Speaker 1: select a certain part of the image and then you 249 00:15:01,360 --> 00:15:04,360 Speaker 1: can mask out the rest of it, so you just 250 00:15:04,440 --> 00:15:07,520 Speaker 1: have that that part selected, and then you can use 251 00:15:07,640 --> 00:15:11,120 Speaker 1: the paint brush to paint and or paint out to 252 00:15:11,440 --> 00:15:13,880 Speaker 1: kind of clean up the lines that you just selected. 253 00:15:14,200 --> 00:15:16,160 Speaker 1: If you want more of that layer that you just 254 00:15:16,200 --> 00:15:18,320 Speaker 1: blank part of it out, you can you can erase 255 00:15:18,400 --> 00:15:19,880 Speaker 1: part of it and you can bring it back in. 256 00:15:21,000 --> 00:15:25,520 Speaker 1: So layers and mass I think we're big game changers 257 00:15:25,640 --> 00:15:29,720 Speaker 1: for photo editors and photo manipulators who either used as 258 00:15:29,760 --> 00:15:32,360 Speaker 1: an art or they used it to deceive whatever you 259 00:15:32,400 --> 00:15:35,320 Speaker 1: want to use it for. Photoshop was making it possible. 260 00:15:36,360 --> 00:15:39,640 Speaker 1: As we as we have said many times on tech stuff, 261 00:15:39,680 --> 00:15:44,520 Speaker 1: it's not the tool that's necessarily the issue or the problem. 262 00:15:44,640 --> 00:15:47,680 Speaker 1: It's the way the tools implemented. And the purpose of 263 00:15:47,720 --> 00:15:50,880 Speaker 1: these tools was to give greater freedom to people who 264 00:15:50,880 --> 00:15:54,600 Speaker 1: work in images, and what you do with that freedom 265 00:15:54,760 --> 00:15:57,520 Speaker 1: is up to the choice of the individual, and in 266 00:15:57,560 --> 00:16:00,320 Speaker 1: some cases it was to make art. In some cases 267 00:16:00,360 --> 00:16:02,160 Speaker 1: it was just to clean up an image so that 268 00:16:02,600 --> 00:16:05,960 Speaker 1: the point that the photographer wanted you to focus on 269 00:16:06,120 --> 00:16:09,360 Speaker 1: was in fact the most notable element of that image. 270 00:16:09,680 --> 00:16:12,200 Speaker 1: Like if if I'm taking a photo of something and 271 00:16:12,240 --> 00:16:15,640 Speaker 1: I think like, oh, it's this great background and I've 272 00:16:15,680 --> 00:16:18,600 Speaker 1: got a wonderful subject in the foreground, and I'm really 273 00:16:18,640 --> 00:16:21,200 Speaker 1: concentrating on my subject, and I don't notice that there's 274 00:16:21,240 --> 00:16:25,960 Speaker 1: some jackass twenty feet back who's you know, waving maniacally 275 00:16:26,000 --> 00:16:28,200 Speaker 1: into the camera. And then I think, I really don't 276 00:16:28,680 --> 00:16:32,600 Speaker 1: want that guy there. I mean, you know, just pop 277 00:16:32,680 --> 00:16:35,200 Speaker 1: open a new layer and photo shop and clone stamp 278 00:16:35,240 --> 00:16:39,400 Speaker 1: them out. I like the way you think, Well, when 279 00:16:39,400 --> 00:16:41,120 Speaker 1: you see that guy in the street, like I clone 280 00:16:41,120 --> 00:16:43,920 Speaker 1: stamped you exactly, and he doesn't know what you mean, 281 00:16:44,080 --> 00:16:47,200 Speaker 1: maybe there's a good chance he has no idea how 282 00:16:47,400 --> 00:16:52,040 Speaker 1: what what a sick burn, which is essentially saying, like 283 00:16:52,320 --> 00:16:54,560 Speaker 1: I did what I did to you what Stalin did 284 00:16:54,560 --> 00:16:59,120 Speaker 1: to the commissar, only in the photo sense, though you're 285 00:16:59,160 --> 00:17:03,680 Speaker 1: free to go. So some other instances of photo manipulation, 286 00:17:03,800 --> 00:17:07,479 Speaker 1: some of which were not necessarily meant to be uh 287 00:17:07,520 --> 00:17:11,240 Speaker 1: taken as a representation of the actual person, some of 288 00:17:11,280 --> 00:17:16,840 Speaker 1: which it's arguable. Texas Monthly Magazine had a great image 289 00:17:17,119 --> 00:17:20,679 Speaker 1: of Governor Ann richards on a Harley Davidson. That's a 290 00:17:20,720 --> 00:17:24,320 Speaker 1: great one, and she liked it. Yeah, yeah, she looked great. 291 00:17:24,680 --> 00:17:26,600 Speaker 1: But if you actually looked in the credit page of 292 00:17:26,600 --> 00:17:31,040 Speaker 1: the magazine. They they indicate that the motorcyclist was a 293 00:17:31,040 --> 00:17:34,240 Speaker 1: stock image, and so if you were to take the 294 00:17:34,240 --> 00:17:36,800 Speaker 1: trouble of looking at the at that credit page, you 295 00:17:36,840 --> 00:17:40,119 Speaker 1: would see that they don't hide the fact that this 296 00:17:40,160 --> 00:17:43,879 Speaker 1: was a manipulation. And that's almost become common practices for 297 00:17:44,520 --> 00:17:49,560 Speaker 1: manipulated covers. Maybe if it's someone's head on someone else's body, yeah, 298 00:17:49,560 --> 00:17:51,960 Speaker 1: which is a big thing, that it will have a 299 00:17:51,960 --> 00:17:54,880 Speaker 1: small disclaimer either on the credit page or very small 300 00:17:55,000 --> 00:17:57,840 Speaker 1: on the bottom of the cover that says that it 301 00:17:58,040 --> 00:18:02,960 Speaker 1: is illustration. Yeah. Yeah. And ninety three that's when photoshop 302 00:18:02,960 --> 00:18:06,120 Speaker 1: would come to Windows. So finally Windows users were able 303 00:18:06,160 --> 00:18:09,440 Speaker 1: to stand side by side with Mac users with sixteen 304 00:18:09,440 --> 00:18:12,240 Speaker 1: bit support. That was that was the big thing that year, 305 00:18:12,320 --> 00:18:18,280 Speaker 1: I think for Windows. UH. Here's a famous instance of 306 00:18:19,119 --> 00:18:24,040 Speaker 1: photo manipulation that was a big controversy. This was during 307 00:18:24,320 --> 00:18:26,679 Speaker 1: UH just in the in the wake of O. J. 308 00:18:26,760 --> 00:18:30,280 Speaker 1: Simpson being arrested on the charge of murder, and two 309 00:18:30,320 --> 00:18:34,000 Speaker 1: magazines came out at the same time, both using O. J. 310 00:18:34,119 --> 00:18:39,400 Speaker 1: Simpsons mug shot. Newsweek had the unaltered mug shot as 311 00:18:39,440 --> 00:18:44,280 Speaker 1: the cover. Time magazine had a altered version of that 312 00:18:44,359 --> 00:18:49,480 Speaker 1: mug shot. Yes, they manipulated it to make him appear 313 00:18:49,640 --> 00:18:55,160 Speaker 1: darker and more menacing, which is I would argue bad 314 00:18:55,160 --> 00:19:02,480 Speaker 1: photo journalism. Yeah, and uh, yes, it's yes, both of 315 00:19:02,520 --> 00:19:07,679 Speaker 1: those things. It is I would argue indefensible. Yeah, that 316 00:19:07,760 --> 00:19:09,840 Speaker 1: was one of the things that they show you a 317 00:19:09,920 --> 00:19:15,080 Speaker 1: most photography history of photography classes or yeahtha quite pointing 318 00:19:15,080 --> 00:19:19,320 Speaker 1: at that and saying, do not be this person. No, 319 00:19:19,480 --> 00:19:23,800 Speaker 1: it's a bad idea. It says a lot. It says 320 00:19:23,800 --> 00:19:27,439 Speaker 1: a lot of really ugly things about not just the 321 00:19:27,480 --> 00:19:32,080 Speaker 1: mentality of uh, the editors of the magazine at the time, 322 00:19:32,119 --> 00:19:36,480 Speaker 1: but also their opinion of the American public and perhaps 323 00:19:36,560 --> 00:19:41,840 Speaker 1: even by extension, the overall dominant opinions of the American public. 324 00:19:41,920 --> 00:19:44,000 Speaker 1: Like all of that none of that comes out well 325 00:19:44,320 --> 00:19:46,840 Speaker 1: in that in that instance, to say that this would 326 00:19:46,880 --> 00:19:50,399 Speaker 1: be seen as a reasonable use of photo editing and 327 00:19:50,440 --> 00:19:53,720 Speaker 1: that it would be accepted and that, you know, that's 328 00:19:53,800 --> 00:19:56,800 Speaker 1: all of that is just ugly and it's unfortunate. Yeah, 329 00:19:56,880 --> 00:20:00,840 Speaker 1: and it's it's it's good that Newsweek ran the same picture, 330 00:20:01,320 --> 00:20:04,560 Speaker 1: which is something that I think is is uniquely pre 331 00:20:05,040 --> 00:20:10,040 Speaker 1: internet kind of saturation, is that that would happen every 332 00:20:10,040 --> 00:20:12,640 Speaker 1: once in a while that Newsweek or Time would run 333 00:20:12,640 --> 00:20:15,680 Speaker 1: the same image on their home on their front almost 334 00:20:15,680 --> 00:20:19,520 Speaker 1: that homepage. Yeah, well, the same image of that world. 335 00:20:19,119 --> 00:20:22,320 Speaker 1: I will often end up referring to old media with 336 00:20:22,400 --> 00:20:25,239 Speaker 1: new media terms. And then I realized, like, I've been 337 00:20:25,280 --> 00:20:27,560 Speaker 1: in this business a while now, and this is this 338 00:20:27,640 --> 00:20:31,160 Speaker 1: is reality. Now. That's so weird. I remember before there 339 00:20:31,200 --> 00:20:35,119 Speaker 1: was a worldwide web, um showing my age. All right, 340 00:20:35,200 --> 00:20:37,720 Speaker 1: And I've got one more specific one I want to 341 00:20:37,720 --> 00:20:40,560 Speaker 1: talk about, and I'm sure you have some more examples too, 342 00:20:40,600 --> 00:20:42,600 Speaker 1: But the one that I was thinking of immediately that 343 00:20:42,880 --> 00:20:45,360 Speaker 1: it kind of ties in in a way, and that 344 00:20:45,520 --> 00:20:49,720 Speaker 1: has to do with race. Um. So the Time image 345 00:20:49,800 --> 00:20:55,360 Speaker 1: was racist image. That was, like, again, just terrible photojournalism. 346 00:20:55,400 --> 00:20:58,159 Speaker 1: The one I was going to mention was an attempt 347 00:20:58,840 --> 00:21:02,600 Speaker 1: but the University of Wasson to demonstrate that they had 348 00:21:02,640 --> 00:21:08,719 Speaker 1: a diverse student uh population by showing a group of 349 00:21:08,760 --> 00:21:12,120 Speaker 1: football fans at a game that included a black student 350 00:21:12,440 --> 00:21:14,520 Speaker 1: in the middle of or to the side of several 351 00:21:14,520 --> 00:21:17,399 Speaker 1: white students all cheering on a football game. The only 352 00:21:17,440 --> 00:21:21,879 Speaker 1: problem was it was a composite photo. The black students 353 00:21:21,920 --> 00:21:25,200 Speaker 1: photo had been taken a year apart from the football 354 00:21:25,240 --> 00:21:27,760 Speaker 1: fans photo, and then the black student had been inserted 355 00:21:27,800 --> 00:21:32,320 Speaker 1: into the picture in order to perpetuate this idea that 356 00:21:32,400 --> 00:21:36,200 Speaker 1: the University of Wisconsin had a diverse student body. Yes, 357 00:21:36,320 --> 00:21:39,280 Speaker 1: and it is bad. I mean, like the photoshop itself 358 00:21:39,359 --> 00:21:41,600 Speaker 1: is bad. It does not look like that person is 359 00:21:41,640 --> 00:21:44,439 Speaker 1: not the same place. There's a publication in Toronto. I 360 00:21:44,480 --> 00:21:49,719 Speaker 1: think it was for uh. It was like come to 361 00:21:49,720 --> 00:21:52,359 Speaker 1: Toronto and they were trying to show on the on 362 00:21:52,440 --> 00:21:54,600 Speaker 1: the cover a diverse family, and so they did the 363 00:21:54,640 --> 00:21:57,280 Speaker 1: same thing that they did with the Wisconsin cover. And 364 00:21:57,320 --> 00:22:00,240 Speaker 1: it hits me on two levels both of these covers 365 00:22:00,280 --> 00:22:05,000 Speaker 1: that it's it's it's it's it's not good practice. And 366 00:22:05,760 --> 00:22:09,240 Speaker 1: it wouldn't have been with all the effort and time 367 00:22:09,240 --> 00:22:11,720 Speaker 1: that you went through to get those photographs, you could 368 00:22:11,760 --> 00:22:15,720 Speaker 1: have gotten an actual photograph number one that would have 369 00:22:15,760 --> 00:22:18,680 Speaker 1: probably been less time consuming just to get a group 370 00:22:18,720 --> 00:22:21,240 Speaker 1: of people together and say hey, let's let's take your picture. 371 00:22:21,280 --> 00:22:23,280 Speaker 1: We're gonna pose you here, and if there's a game 372 00:22:23,359 --> 00:22:25,400 Speaker 1: and we don't take a picture. So it's not very ethical, 373 00:22:25,520 --> 00:22:28,800 Speaker 1: it's not very well done, and I can good taste. 374 00:22:28,840 --> 00:22:32,479 Speaker 1: And then also like the editing is really bad. You 375 00:22:32,520 --> 00:22:35,160 Speaker 1: look at it and you know, yeah, I mean even 376 00:22:35,200 --> 00:22:37,919 Speaker 1: with an untrained eye, it definitely does not look like 377 00:22:37,960 --> 00:22:40,080 Speaker 1: these photos were taken on the same day because they weren't. 378 00:22:40,119 --> 00:22:42,439 Speaker 1: They were taking a year apart. And uh, you know 379 00:22:42,680 --> 00:22:44,920 Speaker 1: the University of Wisconsin, what they said was they said, 380 00:22:46,000 --> 00:22:49,320 Speaker 1: we do have black students in our student body. We 381 00:22:49,400 --> 00:22:54,160 Speaker 1: didn't have any photos that represented the diversity, so we 382 00:22:54,680 --> 00:22:58,080 Speaker 1: made one. Yeah, and and not takeet on this sad box. 383 00:22:58,160 --> 00:23:02,040 Speaker 1: But if you want diversity, do it. Yeah, Like, like, 384 00:23:02,280 --> 00:23:05,840 Speaker 1: don't create the illusion of it by manipulation of photographs, 385 00:23:05,600 --> 00:23:08,840 Speaker 1: but put the effort in to u get the photograph, 386 00:23:08,880 --> 00:23:11,359 Speaker 1: the real photograph, get the real diversity of the campus, 387 00:23:11,359 --> 00:23:16,880 Speaker 1: things like that. Yeah, I agree, it's because because all 388 00:23:16,920 --> 00:23:19,320 Speaker 1: it takes, even if you do it really really well 389 00:23:19,400 --> 00:23:22,880 Speaker 1: with the photo manipulation, all it takes is someone who 390 00:23:23,160 --> 00:23:26,080 Speaker 1: has any knowledge of what's going on to say, yeah, 391 00:23:26,119 --> 00:23:29,920 Speaker 1: it didn't really happen, and then everything unravels and then 392 00:23:29,960 --> 00:23:33,680 Speaker 1: you have a pr problem that's way bigger than the 393 00:23:33,760 --> 00:23:39,399 Speaker 1: perceived lack of diversity. Um, so definitely agree, address the 394 00:23:39,480 --> 00:23:43,800 Speaker 1: underlying problem of diversity before you start worrying about uh, 395 00:23:43,840 --> 00:23:46,600 Speaker 1: you know, the brochure as you're handing out. That's that's 396 00:23:46,680 --> 00:23:51,080 Speaker 1: definitely I'm on the same page. Yeah, and and I've 397 00:23:51,160 --> 00:23:53,240 Speaker 1: all of a sudden thought of like, um. There are 398 00:23:53,240 --> 00:23:56,560 Speaker 1: a lot of examples of of people who have pointed 399 00:23:56,600 --> 00:24:00,359 Speaker 1: out photos in this this post digital era, who have 400 00:24:01,080 --> 00:24:05,440 Speaker 1: experience with photoshop, who work with digital photography fairly extensively, 401 00:24:06,240 --> 00:24:10,400 Speaker 1: who very quickly can point out when, um, when when 402 00:24:10,760 --> 00:24:16,000 Speaker 1: less than professional manipulation has taken place, like in some cases, 403 00:24:16,440 --> 00:24:18,840 Speaker 1: in some cases it's it's fairly obvious even to the 404 00:24:18,960 --> 00:24:21,760 Speaker 1: casual viewer, and in some cases it takes a little 405 00:24:21,760 --> 00:24:25,160 Speaker 1: bit more of a trained eye to start noticing the indicators. 406 00:24:25,800 --> 00:24:30,399 Speaker 1: If it's done really, really well, then theoretically you wouldn't 407 00:24:30,400 --> 00:24:32,560 Speaker 1: be able to tell like you you you what you 408 00:24:32,680 --> 00:24:35,960 Speaker 1: could say, well, it's possible that was manipulated. It's also 409 00:24:36,040 --> 00:24:39,280 Speaker 1: possible that that wasn't manipulated. Some of the well done 410 00:24:39,359 --> 00:24:42,240 Speaker 1: ones go viral so quickly that it can make the 411 00:24:42,359 --> 00:24:46,760 Speaker 1: rounds everywhere before someone comes out, even if it's like 412 00:24:46,840 --> 00:24:49,240 Speaker 1: three hours later, it's already hit all the news, you know, 413 00:24:50,000 --> 00:24:52,480 Speaker 1: and they they're like, oh, hey, I just opened this 414 00:24:52,600 --> 00:24:55,720 Speaker 1: up a photoshop zoomed incent I can tell you where 415 00:24:55,800 --> 00:24:58,960 Speaker 1: they where this picture ends, and this picture begins, and 416 00:24:59,040 --> 00:25:04,479 Speaker 1: this edit this is definitely manipulated. Yeah. I suppose if 417 00:25:04,520 --> 00:25:08,480 Speaker 1: you were to take the greatest pains possible and go 418 00:25:08,800 --> 00:25:12,560 Speaker 1: pixel by pixel and you had lots of spare time 419 00:25:12,640 --> 00:25:15,639 Speaker 1: on your hands, you could perhaps create an image that 420 00:25:15,920 --> 00:25:20,879 Speaker 1: was essentially unbeatable undetectable. But it's a huge amount of 421 00:25:20,880 --> 00:25:23,280 Speaker 1: effort in order to do that. You can probably get 422 00:25:23,400 --> 00:25:27,600 Speaker 1: past a large percentage of the viewing public with a 423 00:25:27,880 --> 00:25:31,359 Speaker 1: with a decent manipulation job. But they're always going to 424 00:25:31,400 --> 00:25:33,080 Speaker 1: be those experts out there who are like, they know 425 00:25:33,200 --> 00:25:34,760 Speaker 1: what to look for, and there's always going to be 426 00:25:35,720 --> 00:25:38,040 Speaker 1: Now in two thousand and fifteen, there's gonna they're going 427 00:25:38,119 --> 00:25:40,760 Speaker 1: to be services that you can use that you can 428 00:25:40,880 --> 00:25:42,800 Speaker 1: upload your image. It's going to tell you whether or 429 00:25:42,840 --> 00:25:46,200 Speaker 1: not they think it's been digitally altered because they have 430 00:25:46,320 --> 00:25:49,840 Speaker 1: an algorithm for finding those things out. Which, Yeah, once 431 00:25:49,920 --> 00:25:52,280 Speaker 1: you have the algorithms, go in there where they're looking 432 00:25:52,320 --> 00:25:55,119 Speaker 1: at it pixel by pixel, Like they can look at 433 00:25:55,320 --> 00:25:57,920 Speaker 1: two adjacent pixels and if there's enough of a difference 434 00:25:57,960 --> 00:26:01,640 Speaker 1: between the two that can't be explained by other elements 435 00:26:01,720 --> 00:26:06,080 Speaker 1: within the image, then that's a possible red flag. Yeah, 436 00:26:06,160 --> 00:26:09,040 Speaker 1: Or people who forget to alter their metadata or raise 437 00:26:09,080 --> 00:26:13,080 Speaker 1: their metadata. There are a lot of ways to find fakes, 438 00:26:13,320 --> 00:26:16,920 Speaker 1: and more often than not, they are found out pretty quickly. 439 00:26:17,000 --> 00:26:19,879 Speaker 1: There's also been some pretty embarrassing situations where people have 440 00:26:20,040 --> 00:26:24,159 Speaker 1: uploaded a photo that they had cropped and uh, and 441 00:26:24,400 --> 00:26:30,280 Speaker 1: yet the original picture is still accessible through that image, 442 00:26:31,480 --> 00:26:34,280 Speaker 1: where someone's like, oh, I just expanded it and I 443 00:26:34,359 --> 00:26:36,359 Speaker 1: saw that your room is a total mess. That would 444 00:26:36,400 --> 00:26:41,400 Speaker 1: be the less scandalous versions of some of those photos 445 00:26:41,480 --> 00:26:44,280 Speaker 1: that have made their rounds. Yeah, and then some of them, 446 00:26:44,359 --> 00:26:46,920 Speaker 1: like you said, are just bad. I mean not to 447 00:26:47,040 --> 00:26:49,120 Speaker 1: skip around too much, but one of my favorite examples 448 00:26:49,200 --> 00:26:51,440 Speaker 1: recently has been there have been like a number of 449 00:26:51,840 --> 00:26:57,640 Speaker 1: photographs of Chinese officials inspecting things that are pretty poorly done. 450 00:26:57,920 --> 00:27:01,120 Speaker 1: I haven't seen these, they're there are There's just one 451 00:27:01,160 --> 00:27:05,119 Speaker 1: in particular. It's a doctored photo of three local officials 452 00:27:05,520 --> 00:27:11,400 Speaker 1: inspecting a highway project, uh, where they're not on the road, 453 00:27:12,440 --> 00:27:15,440 Speaker 1: they're just placed kind of above the road. So it's like, 454 00:27:15,560 --> 00:27:18,240 Speaker 1: so not only are they inspecting their hovering yeah, like 455 00:27:18,359 --> 00:27:20,600 Speaker 1: no shadow work, and also it's kind of like a 456 00:27:20,680 --> 00:27:23,080 Speaker 1: stock photo where they're like, oh, like they have these 457 00:27:23,119 --> 00:27:25,639 Speaker 1: looks on their face that are like very surprised of 458 00:27:25,720 --> 00:27:28,879 Speaker 1: how well the progress is going on on the road. 459 00:27:28,880 --> 00:27:31,480 Speaker 1: They're like, oh gosh, wow, look at this road and 460 00:27:31,760 --> 00:27:35,440 Speaker 1: it's pretty embarrassing. And when when that something like that 461 00:27:35,600 --> 00:27:39,400 Speaker 1: gets out it Yeah, I I definitely and I meant 462 00:27:39,440 --> 00:27:41,920 Speaker 1: to bring this up when we were talking about stock 463 00:27:41,960 --> 00:27:48,240 Speaker 1: photography earlier. There's also been several instances of various UM 464 00:27:49,400 --> 00:27:55,280 Speaker 1: companies or news agencies or political campaigns that have used 465 00:27:55,400 --> 00:27:59,520 Speaker 1: stock images of people and use them in ways to 466 00:27:59,640 --> 00:28:03,800 Speaker 1: claim that this is representing a specific individual that isn't 467 00:28:03,840 --> 00:28:06,600 Speaker 1: the person who posed for the stock photography in order 468 00:28:06,680 --> 00:28:10,480 Speaker 1: to portray a particular viewpoint or to put forth a 469 00:28:10,600 --> 00:28:12,800 Speaker 1: story or something along those lines. We've seen that happen 470 00:28:12,800 --> 00:28:16,159 Speaker 1: a few times where UM people have said this image 471 00:28:16,200 --> 00:28:19,960 Speaker 1: that you're using to to create this narrative that furthers 472 00:28:20,000 --> 00:28:22,480 Speaker 1: your cause in one way or another, whether it doesn't 473 00:28:22,480 --> 00:28:24,879 Speaker 1: matter what side of political spectrum you're on. This has 474 00:28:24,920 --> 00:28:29,040 Speaker 1: been done across the board by various people at various times, 475 00:28:29,080 --> 00:28:34,080 Speaker 1: sometimes not necessarily maliciously, but certainly to mislead. They would 476 00:28:34,160 --> 00:28:36,600 Speaker 1: create they find a stock image that seems to represent 477 00:28:36,800 --> 00:28:39,080 Speaker 1: like diversity would be a good one. They I've seen 478 00:28:39,160 --> 00:28:43,000 Speaker 1: this happen a couple of times and people point out, actually, 479 00:28:43,040 --> 00:28:45,760 Speaker 1: that's a stock image. That's not a picture of their 480 00:28:45,840 --> 00:28:49,600 Speaker 1: employees or their campaign. That's not that's not a representative 481 00:28:49,800 --> 00:28:53,400 Speaker 1: of that group. That's actually just a stock photo. And 482 00:28:53,520 --> 00:28:56,240 Speaker 1: here's where you can find it. Yeah, like you took 483 00:28:56,360 --> 00:28:58,640 Speaker 1: this crowd and you put it with this picture of you, 484 00:28:59,120 --> 00:29:02,240 Speaker 1: and that crowd didn't actually hump to your event. Um, 485 00:29:02,480 --> 00:29:04,640 Speaker 1: so do you really have the support that you say 486 00:29:04,680 --> 00:29:08,440 Speaker 1: that you have, or uh, even a stock photo? But 487 00:29:08,560 --> 00:29:11,720 Speaker 1: one I think that you could get from an image 488 00:29:11,800 --> 00:29:14,560 Speaker 1: database and put two photos together. That was pretty famous 489 00:29:14,640 --> 00:29:17,400 Speaker 1: is back in two thousand four when there was the 490 00:29:17,440 --> 00:29:20,719 Speaker 1: image of John Kerry sitting next to Jane Fonda at 491 00:29:20,760 --> 00:29:26,720 Speaker 1: an anti vietnamum A protests. Yeah, and that that I 492 00:29:26,800 --> 00:29:28,680 Speaker 1: think back in two thousand four, it took a little 493 00:29:28,720 --> 00:29:31,840 Speaker 1: bit longer for that news to be made public that 494 00:29:31,960 --> 00:29:35,680 Speaker 1: it was fake, where now I think it would it 495 00:29:35,760 --> 00:29:39,840 Speaker 1: would circle background pretty quickly. But that was that was 496 00:29:39,880 --> 00:29:41,560 Speaker 1: an image that I think a lot of people looked 497 00:29:41,600 --> 00:29:44,040 Speaker 1: at and thought, wow, that looks that looks legitimate. That 498 00:29:44,280 --> 00:29:46,120 Speaker 1: really looks like they're sitting there together, that they had 499 00:29:46,160 --> 00:29:48,360 Speaker 1: a closer relationship than they actually had a lot of 500 00:29:48,400 --> 00:29:51,000 Speaker 1: people do that for either positive or negative, to take 501 00:29:51,080 --> 00:29:53,920 Speaker 1: pictures of themselves and put them with famous people for 502 00:29:54,040 --> 00:29:58,320 Speaker 1: either a positive or a negative connotation. Yeah, this kind 503 00:29:58,360 --> 00:30:03,600 Speaker 1: of also leads into a more lighthearted version of people 504 00:30:03,680 --> 00:30:07,200 Speaker 1: using photoshop for this kind of purpose. It's my favorite, 505 00:30:07,560 --> 00:30:10,600 Speaker 1: I mean, it's my favorite thing about photoshop. Ever, It's 506 00:30:10,600 --> 00:30:12,800 Speaker 1: my favorite way that people use photoshop. I mean, I 507 00:30:13,080 --> 00:30:16,360 Speaker 1: I appreciate again the technical skill and artistry that is 508 00:30:16,480 --> 00:30:19,040 Speaker 1: required for you to make good use of photoshop and 509 00:30:19,160 --> 00:30:21,480 Speaker 1: not make it look crappy, because I do not have 510 00:30:21,600 --> 00:30:24,120 Speaker 1: that skill. If I use photoshop, it's gonna look like 511 00:30:24,160 --> 00:30:27,080 Speaker 1: I use finger paints to cover up a smudge or something. 512 00:30:27,840 --> 00:30:32,440 Speaker 1: But I love with a with a passion that is 513 00:30:32,480 --> 00:30:36,520 Speaker 1: difficult to describe. The funny uses of photoshop people will 514 00:30:36,600 --> 00:30:40,120 Speaker 1: do when someone presents a photo and they have a request. 515 00:30:40,240 --> 00:30:42,680 Speaker 1: But this happens a lot on Reddit, where they say, 516 00:30:43,040 --> 00:30:45,440 Speaker 1: here's a picture I took, this is what I wanted. 517 00:30:45,520 --> 00:30:51,040 Speaker 1: Can someone photoshop this for me so that this outcome happens. 518 00:30:51,800 --> 00:30:56,280 Speaker 1: And the trend is for people to do ridiculous photoshops 519 00:30:56,520 --> 00:31:01,280 Speaker 1: that that uh end up fulfilling letter of what the 520 00:31:01,360 --> 00:31:03,840 Speaker 1: person asked for, but not the spirit of what they 521 00:31:03,880 --> 00:31:05,920 Speaker 1: asked for. I love that. It's it's like, can you 522 00:31:06,040 --> 00:31:08,200 Speaker 1: put I don't have a picture of me and my 523 00:31:08,360 --> 00:31:10,560 Speaker 1: cat together? Can you put me in my cat in 524 00:31:10,600 --> 00:31:12,440 Speaker 1: the same picture? And then like someone will make the 525 00:31:12,520 --> 00:31:16,600 Speaker 1: cat huge and tiny? Yeah, yeah, exactly, or they'll they'll 526 00:31:16,760 --> 00:31:20,240 Speaker 1: like just uh, you know, end up having like half 527 00:31:20,280 --> 00:31:22,320 Speaker 1: a cat on the picture and the other half the 528 00:31:22,360 --> 00:31:23,680 Speaker 1: cat is on the other side of the picture, and 529 00:31:23,840 --> 00:31:27,600 Speaker 1: just just sometimes sometimes the results are terrible, like like 530 00:31:27,840 --> 00:31:31,080 Speaker 1: terrible as in oh, and sometimes they're just funny. My 531 00:31:31,200 --> 00:31:34,440 Speaker 1: favorite one that I've seen recently, uh And I mentioned 532 00:31:34,480 --> 00:31:36,040 Speaker 1: this to you a couple of days ago, and we 533 00:31:36,120 --> 00:31:39,120 Speaker 1: were talking about this podcast was one where it was 534 00:31:39,160 --> 00:31:41,760 Speaker 1: a guy standing next to the Eiffel Tower and he 535 00:31:41,840 --> 00:31:45,240 Speaker 1: had his hand up in the air, and what he 536 00:31:45,360 --> 00:31:48,240 Speaker 1: had wanted was the photographer to take a picture so 537 00:31:48,480 --> 00:31:51,200 Speaker 1: that the perspective made it look as if he had 538 00:31:51,280 --> 00:31:53,800 Speaker 1: his hand on the top of the Eiffel Tower. Classic 539 00:31:53,880 --> 00:31:56,920 Speaker 1: Eiffel photo, classic leaning tower photo. Yeah, exactly, get it. 540 00:31:57,360 --> 00:32:00,160 Speaker 1: The one that you know, everyone's got to have one, right, 541 00:32:01,240 --> 00:32:03,520 Speaker 1: I would be the guy who would want the photo 542 00:32:03,600 --> 00:32:07,240 Speaker 1: to be taken incorrectly on purpose, like I would like 543 00:32:07,560 --> 00:32:08,840 Speaker 1: I'd want to be the guy next to the lean 544 00:32:08,920 --> 00:32:11,360 Speaker 1: tower piece. I had my hands up and there's clearly 545 00:32:11,440 --> 00:32:16,240 Speaker 1: like three ft of space between direction exactly like yeah, 546 00:32:16,440 --> 00:32:18,000 Speaker 1: I'm not I'm not even on the right side of 547 00:32:18,040 --> 00:32:20,520 Speaker 1: the tower or something like that, because I think that's 548 00:32:20,560 --> 00:32:22,960 Speaker 1: funny because so many people have done the other one. 549 00:32:23,280 --> 00:32:25,640 Speaker 1: So this one I saw where the guy said, could 550 00:32:25,680 --> 00:32:27,680 Speaker 1: you photoshop this so that my hand is on the 551 00:32:27,760 --> 00:32:30,920 Speaker 1: top of the Eiffel Tower. Obviously people had a lot 552 00:32:31,000 --> 00:32:32,640 Speaker 1: of fun with it. I think my favorite was one 553 00:32:32,680 --> 00:32:35,880 Speaker 1: where it guy had had done I shouldn't say a 554 00:32:35,880 --> 00:32:37,480 Speaker 1: guy might have been a lady. I have no idea 555 00:32:37,560 --> 00:32:43,440 Speaker 1: that the manipulator um made made the guy's arm look 556 00:32:43,520 --> 00:32:46,720 Speaker 1: like Mr. Fantastic or plastic uh. And it was not 557 00:32:46,960 --> 00:32:50,240 Speaker 1: done subtly or like like. It was very cartoonishly where 558 00:32:50,400 --> 00:32:53,000 Speaker 1: it looped around all over the photo until the palm 559 00:32:53,120 --> 00:32:55,480 Speaker 1: was on the top of the Eiffel Tower. Clearly what 560 00:32:55,600 --> 00:32:58,120 Speaker 1: the guy had meant was, can you reduce the size 561 00:32:58,160 --> 00:33:00,800 Speaker 1: of the Eiffel Tower in the act about this photo 562 00:33:00,920 --> 00:33:03,240 Speaker 1: and then edge it over to the side so that 563 00:33:03,360 --> 00:33:06,360 Speaker 1: my hand is on top of it? But that's obviously 564 00:33:06,440 --> 00:33:09,880 Speaker 1: not a lot the redditors provided, and that's just one example, 565 00:33:10,680 --> 00:33:13,920 Speaker 1: and just one example of one request. There are entire 566 00:33:14,920 --> 00:33:18,600 Speaker 1: threads of these sort of things, and they always make 567 00:33:18,680 --> 00:33:21,280 Speaker 1: me laugh because people are so creative, Like, yeah, it 568 00:33:21,360 --> 00:33:24,040 Speaker 1: takes a certain level of skill to do photoshop badly 569 00:33:24,200 --> 00:33:29,280 Speaker 1: on purpose itself. It is I wanna argue, yes and indeed, 570 00:33:29,680 --> 00:33:32,920 Speaker 1: and it kind of also goes back to something that 571 00:33:33,200 --> 00:33:36,320 Speaker 1: came out of a very tragic event but led to 572 00:33:36,720 --> 00:33:41,880 Speaker 1: ridiculous examples of photoshop. The famous example of the guy 573 00:33:42,120 --> 00:33:45,600 Speaker 1: on the top of the World Trade Center UM on 574 00:33:45,680 --> 00:33:48,880 Speaker 1: September eleven, two thousand one one of the most famous 575 00:33:48,960 --> 00:33:52,200 Speaker 1: manipulations they can think of the modern age. Yeah, so 576 00:33:52,360 --> 00:33:54,360 Speaker 1: it's you know, you've probably seen it. It's the guy 577 00:33:54,400 --> 00:33:57,080 Speaker 1: who's waving and then in the background you see the 578 00:33:57,240 --> 00:34:00,840 Speaker 1: plane headed for the World Trade Center and um, this 579 00:34:01,040 --> 00:34:03,480 Speaker 1: was not this was a manipulated photo. The plane was 580 00:34:03,560 --> 00:34:06,920 Speaker 1: not there in the original photo. And as a meme, 581 00:34:07,800 --> 00:34:10,920 Speaker 1: people started to use photoshop to cut the guy out 582 00:34:10,960 --> 00:34:13,520 Speaker 1: of the picture and put him in other various like 583 00:34:13,719 --> 00:34:20,520 Speaker 1: disaster scenarios like the Hindenburg or JFK JFK, or a 584 00:34:20,600 --> 00:34:24,279 Speaker 1: volcano exploding, or sometimes would be movies, like there will 585 00:34:24,360 --> 00:34:25,799 Speaker 1: just be a still from a movie and this guy 586 00:34:25,880 --> 00:34:27,840 Speaker 1: would just be popped up in the back, and I 587 00:34:27,960 --> 00:34:29,920 Speaker 1: love that. It's like, what are some other things that 588 00:34:30,080 --> 00:34:32,640 Speaker 1: have made that big events throughout history that we can 589 00:34:32,719 --> 00:34:35,880 Speaker 1: just put this person there. And part of you feels 590 00:34:35,880 --> 00:34:39,200 Speaker 1: badly for the guy because it's not like like he 591 00:34:39,360 --> 00:34:41,080 Speaker 1: was just posing for a picture on top of the 592 00:34:41,120 --> 00:34:45,440 Speaker 1: World Trade Center and then somebody manipulated, presumably I don't 593 00:34:45,480 --> 00:34:47,879 Speaker 1: think it was him, manipulated the picture so that there 594 00:34:48,040 --> 00:34:51,920 Speaker 1: was this plane in the background. Um, and then suddenly 595 00:34:51,960 --> 00:34:54,120 Speaker 1: he becomes the center of a meme and he's not 596 00:34:54,239 --> 00:34:56,560 Speaker 1: necessarily the person who did the manipulation in the first place, 597 00:34:57,520 --> 00:34:59,480 Speaker 1: but at anyway, maybe he has a good sense of 598 00:34:59,560 --> 00:35:02,480 Speaker 1: humor about I don't know. It's very, very weird thing 599 00:35:02,560 --> 00:35:04,279 Speaker 1: to have happened to you. I don't know how I 600 00:35:04,320 --> 00:35:07,840 Speaker 1: would feel if my image started This is not an invitation, listeners, 601 00:35:08,440 --> 00:35:09,920 Speaker 1: I don't know how I would feel if my image 602 00:35:09,960 --> 00:35:13,360 Speaker 1: started popping up everywhere. Go for it. Go for it now, Dylan, 603 00:35:13,440 --> 00:35:16,200 Speaker 1: do you are you aware of our super fan, Aaron Cooper? 604 00:35:16,800 --> 00:35:20,600 Speaker 1: I am not so. Aaron Cooper has done tons of 605 00:35:21,440 --> 00:35:26,200 Speaker 1: photo editing various stuff you should know, text stuff for 606 00:35:26,440 --> 00:35:31,239 Speaker 1: thinking folks. All the posters in Studio A, all of 607 00:35:31,360 --> 00:35:35,040 Speaker 1: those are his work. So like Holy Monty Python, the 608 00:35:35,120 --> 00:35:38,359 Speaker 1: Holy Grail featuring the people from How Stuff Works. That's 609 00:35:38,560 --> 00:35:41,800 Speaker 1: you know, this is Aaron Cooper's commend you on that. 610 00:35:42,200 --> 00:35:44,600 Speaker 1: Very good he's done. He's done a couple of Star 611 00:35:44,680 --> 00:35:47,759 Speaker 1: Wars ones for me because he did one with where 612 00:35:47,840 --> 00:35:50,560 Speaker 1: I was Luke and Chris Palette was lay up, and 613 00:35:50,680 --> 00:35:54,200 Speaker 1: then when Lauren came in as my co host, he 614 00:35:54,360 --> 00:35:56,880 Speaker 1: replaced Chris with Lauren. But then he put Chris in 615 00:35:56,920 --> 00:36:00,759 Speaker 1: the background as a ghost O BI one version and 616 00:36:00,840 --> 00:36:03,000 Speaker 1: I thought I was brilliant. And then when I when 617 00:36:03,080 --> 00:36:05,160 Speaker 1: when Lauren left the show, he wrote means that I'm 618 00:36:05,200 --> 00:36:09,399 Speaker 1: not doing another one. I don't blame you, man, You've done. 619 00:36:09,440 --> 00:36:13,000 Speaker 1: You've done more than your share. But he is an 620 00:36:13,040 --> 00:36:15,400 Speaker 1: example of the people who like to use photoshop in 621 00:36:15,520 --> 00:36:18,600 Speaker 1: order to make a joke and make a statement and 622 00:36:18,960 --> 00:36:22,680 Speaker 1: show his appreciation for something that he really enjoys. And 623 00:36:22,800 --> 00:36:26,719 Speaker 1: so big props to Yeah. I think that his work 624 00:36:26,880 --> 00:36:29,080 Speaker 1: is great and I'm glad to put a name with 625 00:36:29,560 --> 00:36:31,320 Speaker 1: someone who's made me laugh quite a few times in 626 00:36:31,400 --> 00:36:35,120 Speaker 1: this studio. Yeah, it's it's great stuff. And uh, I'll 627 00:36:35,160 --> 00:36:37,799 Speaker 1: definitely show you when this show is over, I'll show 628 00:36:37,800 --> 00:36:39,960 Speaker 1: you the pictures he's done for tech stuff. Are there 629 00:36:40,000 --> 00:36:43,320 Speaker 1: any other famous examples of photo manipulation manipulation you'd like 630 00:36:43,360 --> 00:36:46,120 Speaker 1: to talk about speaking of Star Wars? Uh. In two 631 00:36:46,200 --> 00:36:51,399 Speaker 1: thousand and eight, Uh, there was Iranian missile test. Oh yeah, yeah, 632 00:36:51,680 --> 00:36:56,240 Speaker 1: and um it was an image released of the missile 633 00:36:56,320 --> 00:36:59,080 Speaker 1: tests that a bunch of news outlets picked up. And 634 00:36:59,680 --> 00:37:04,200 Speaker 1: it take long for someone to realize that, uh, two 635 00:37:04,320 --> 00:37:07,040 Speaker 1: of the missiles in the tests that were being launched 636 00:37:07,040 --> 00:37:09,160 Speaker 1: to have been replicated, so it's the same missile twice. 637 00:37:10,320 --> 00:37:13,160 Speaker 1: And the Internet had a field day with it. And 638 00:37:13,760 --> 00:37:16,680 Speaker 1: it eventually ended up that someone put a bunch of 639 00:37:16,760 --> 00:37:19,520 Speaker 1: missiles going off and in opposite directions they were, they 640 00:37:19,560 --> 00:37:22,239 Speaker 1: were going in both directions, kind of shooting into each other. 641 00:37:22,600 --> 00:37:25,759 Speaker 1: There's smoke everywhere, and then the very bottom of the 642 00:37:25,840 --> 00:37:30,399 Speaker 1: frame there's a jar jar banks just his head and uh, 643 00:37:31,360 --> 00:37:36,839 Speaker 1: you know, fast forward four years, another Uh, Iranian news 644 00:37:36,920 --> 00:37:41,719 Speaker 1: outlet picks up that picture the edited picture for their 645 00:37:41,760 --> 00:37:47,879 Speaker 1: website on an article about Iranian missile tests. So someone 646 00:37:48,000 --> 00:37:51,160 Speaker 1: just searched for a picture of the tests and found 647 00:37:51,400 --> 00:37:57,160 Speaker 1: the wrong one. Yeah, and like good enough. Yeah, that's um, 648 00:37:58,160 --> 00:38:02,360 Speaker 1: that's unfortunately, and we we obviously we have seen images 649 00:38:02,520 --> 00:38:07,160 Speaker 1: that people have presented as as being genuine without actually 650 00:38:07,320 --> 00:38:10,359 Speaker 1: knowing that there had been manipulation. It doesn't always mean 651 00:38:10,480 --> 00:38:14,480 Speaker 1: if someone spreads these kind of photos around, it doesn't 652 00:38:14,520 --> 00:38:18,000 Speaker 1: always mean that they are aware of the of the manipulation. 653 00:38:18,040 --> 00:38:20,080 Speaker 1: They may be victims of that manipulation, and then they 654 00:38:20,160 --> 00:38:23,919 Speaker 1: further perpetuated by sharing it. It's very easy to lose 655 00:38:23,960 --> 00:38:26,680 Speaker 1: original credit on the Internet because things are passed around. 656 00:38:26,840 --> 00:38:31,279 Speaker 1: Even even things that you can verify fairly easily can 657 00:38:31,320 --> 00:38:34,839 Speaker 1: still spread. A famous example which will finally, I think, 658 00:38:34,880 --> 00:38:38,320 Speaker 1: be put to bed this year. We're almost there. October 659 00:38:38,440 --> 00:38:44,400 Speaker 1: is so close the image of the digital Redoubt and 660 00:38:44,560 --> 00:38:47,640 Speaker 1: back to the future too. I've seen that manipulated to 661 00:38:47,880 --> 00:38:52,440 Speaker 1: be at least five different dates, yeah, at least sometimes 662 00:38:52,520 --> 00:38:55,120 Speaker 1: more than once a year like there, I would say 663 00:38:55,200 --> 00:38:58,279 Speaker 1: at least since two thousand and ten. I've seen quite 664 00:38:58,320 --> 00:39:01,840 Speaker 1: a few. And it is it's in October this year, folks. 665 00:39:02,280 --> 00:39:05,160 Speaker 1: So once we get past October, I think that will 666 00:39:05,200 --> 00:39:07,040 Speaker 1: be the end of itual. Once we get past October 667 00:39:07,120 --> 00:39:11,800 Speaker 1: and everyone has self licen shoes and hoverboards. Uh you know, 668 00:39:12,080 --> 00:39:17,000 Speaker 1: just remember they don't work on water unless you got power, 669 00:39:17,480 --> 00:39:20,359 Speaker 1: unless you got that Lexus hoverboarding. That's right, the Lexus one. 670 00:39:20,440 --> 00:39:24,360 Speaker 1: It's different yea that that includes uh super cool magnets 671 00:39:24,480 --> 00:39:26,799 Speaker 1: that you want to be real careful with that one. UM. 672 00:39:27,239 --> 00:39:30,600 Speaker 1: But I think one of the issues that's pretty prevalent 673 00:39:30,719 --> 00:39:35,840 Speaker 1: these days with photo manipulation is UM magazine covers and 674 00:39:35,960 --> 00:39:41,680 Speaker 1: body image and UM. And there's been a couple of 675 00:39:41,800 --> 00:39:45,160 Speaker 1: breakthroughs in the past few years on kind of raining 676 00:39:45,200 --> 00:39:47,960 Speaker 1: that in because I'm sure that everyone's seen this and 677 00:39:48,400 --> 00:39:50,880 Speaker 1: and it's easy to tell that these photos have been 678 00:39:50,920 --> 00:39:54,919 Speaker 1: manipulated just because whose skin is that perfect and things 679 00:39:55,040 --> 00:39:57,840 Speaker 1: like that, whose waste is that small? Especially if you 680 00:39:58,040 --> 00:40:03,600 Speaker 1: if you see any casual photo of especially now that UM, 681 00:40:04,200 --> 00:40:09,560 Speaker 1: we we have a flood of photos hitting our social 682 00:40:09,640 --> 00:40:13,320 Speaker 1: networks that are taken from the subjects themselves, and you 683 00:40:13,400 --> 00:40:15,920 Speaker 1: start to see what they really look like these and 684 00:40:16,200 --> 00:40:18,680 Speaker 1: I'm not saying that they are unattractive at all. I'm 685 00:40:18,719 --> 00:40:21,759 Speaker 1: talking like, you know, everyone from supermodels to actors to 686 00:40:22,280 --> 00:40:25,239 Speaker 1: authors to whatever. You see what they really look like, 687 00:40:25,400 --> 00:40:28,759 Speaker 1: and then you compare that to the magazine version of them, 688 00:40:28,840 --> 00:40:32,120 Speaker 1: the magazine cover version, and sometimes they look like two 689 00:40:32,280 --> 00:40:35,719 Speaker 1: totally different people. Yeah. And also it's a lot of 690 00:40:35,840 --> 00:40:40,600 Speaker 1: the originals get leaked and people make, you know, comparisons 691 00:40:40,680 --> 00:40:43,400 Speaker 1: where they overlay the original with the edit and you 692 00:40:43,440 --> 00:40:45,920 Speaker 1: can see all of the work that they've done, the 693 00:40:46,280 --> 00:40:50,080 Speaker 1: perceived flaws that have been corrected. And in two thousand 694 00:40:50,239 --> 00:40:56,000 Speaker 1: nine there was a really extreme case from Ralph Lauren. Uh, 695 00:40:56,160 --> 00:41:00,960 Speaker 1: they edited one of their models to have just possibly 696 00:41:01,000 --> 00:41:05,040 Speaker 1: in human proportions, just a tiny, tiny waist, just very 697 00:41:05,160 --> 00:41:09,160 Speaker 1: small arms, and and there was a big backlash and 698 00:41:09,440 --> 00:41:14,160 Speaker 1: that that kind of that wasn't exactly the change of tide. 699 00:41:14,520 --> 00:41:18,560 Speaker 1: But in the years following UM there have been such 700 00:41:18,680 --> 00:41:23,279 Speaker 1: instances as in two thousand twelve, Israel became the first 701 00:41:23,360 --> 00:41:28,160 Speaker 1: country to require advertisements to say when they were digitally 702 00:41:28,320 --> 00:41:32,880 Speaker 1: manipulating photos to make people appear thinner. UM. It also 703 00:41:33,000 --> 00:41:36,400 Speaker 1: set like a minimum boss mat body mass index that 704 00:41:36,840 --> 00:41:40,680 Speaker 1: the models could have to ensure that no underweight models 705 00:41:40,760 --> 00:41:43,960 Speaker 1: were used in advertisements. So there was actually like a 706 00:41:44,239 --> 00:41:46,799 Speaker 1: not a weight limit, but in body mass limit. Yeah. 707 00:41:47,320 --> 00:41:51,000 Speaker 1: And then UM there was a teenager that started a 708 00:41:51,040 --> 00:41:56,880 Speaker 1: campaign UH that wanted seventeen magazine to stop retouching their models. 709 00:41:56,920 --> 00:42:01,880 Speaker 1: In two thousand twelve and seventeen, magazine made Like an 710 00:42:01,920 --> 00:42:05,360 Speaker 1: eight point packed that said that they would never change 711 00:42:05,680 --> 00:42:08,560 Speaker 1: body or face shapes and that they will only use 712 00:42:09,120 --> 00:42:13,040 Speaker 1: models who give the perception of health healthiness. Right so, 713 00:42:13,080 --> 00:42:17,520 Speaker 1: in other words, in order to not perpetuate an unrealistic 714 00:42:18,080 --> 00:42:24,279 Speaker 1: ideal of physical beauty or to create this kind of unhealthy, uh, 715 00:42:25,640 --> 00:42:29,839 Speaker 1: unhealthy obsession with images that may in fact be unattainable 716 00:42:29,880 --> 00:42:32,080 Speaker 1: because they've been manipulated to the point where this is 717 00:42:32,120 --> 00:42:34,560 Speaker 1: not representative of what a human being looks like. Yeah, 718 00:42:34,600 --> 00:42:37,120 Speaker 1: I just make people feel really bad about themselves. Yeah, 719 00:42:37,160 --> 00:42:40,680 Speaker 1: I remember. Of course, there have been several Dove advertisement 720 00:42:40,760 --> 00:42:45,120 Speaker 1: campaigns that have shown the process of taking a model, 721 00:42:45,520 --> 00:42:50,480 Speaker 1: and they take the subject and show the whole process 722 00:42:50,760 --> 00:42:54,560 Speaker 1: from going from the way she looks before any anything's 723 00:42:54,600 --> 00:42:59,080 Speaker 1: been done, to the wardrobe and makeup and hair process, 724 00:42:59,160 --> 00:43:02,200 Speaker 1: which already each changes her appearance significantly from what she 725 00:43:02,280 --> 00:43:06,279 Speaker 1: looked like before. Then if the photography process, then the 726 00:43:06,719 --> 00:43:09,399 Speaker 1: editing process in the photography where they make even further 727 00:43:09,640 --> 00:43:12,279 Speaker 1: changes to her appearance, and then do the side by 728 00:43:12,400 --> 00:43:15,440 Speaker 1: side and say that you know, this is an example 729 00:43:15,719 --> 00:43:20,080 Speaker 1: of of how the the industry, the beauty industry has 730 00:43:20,160 --> 00:43:24,960 Speaker 1: created this unrealistic and and possible, you know, damaging image 731 00:43:25,200 --> 00:43:29,480 Speaker 1: of what beauty is. So in some instances, hopefully if 732 00:43:29,680 --> 00:43:33,879 Speaker 1: it doesn't get if it doesn't cease it completely, there 733 00:43:33,880 --> 00:43:37,040 Speaker 1: at least disclaimers, there's at least some there's someone, there's 734 00:43:37,080 --> 00:43:40,040 Speaker 1: a watchdog of some sort kind of looking out for 735 00:43:40,320 --> 00:43:43,840 Speaker 1: things like this. UM. But like I think I said earlier, 736 00:43:44,640 --> 00:43:48,160 Speaker 1: there's also this this this feeling I think now from 737 00:43:48,200 --> 00:43:52,880 Speaker 1: people who are inundated with so many photographs, UM, and 738 00:43:53,000 --> 00:43:57,160 Speaker 1: that there's just this different access to photography and that 739 00:43:57,320 --> 00:44:00,120 Speaker 1: you're you see so many ads every day, you're you 740 00:44:00,160 --> 00:44:04,200 Speaker 1: go to so many websites that um, any photograph that 741 00:44:04,280 --> 00:44:06,800 Speaker 1: you see is is going to still have edits, and 742 00:44:06,920 --> 00:44:10,920 Speaker 1: that people are probably going to feel awkward if they 743 00:44:10,960 --> 00:44:14,240 Speaker 1: don't see the edits that they might they might expect 744 00:44:14,400 --> 00:44:17,560 Speaker 1: from an image just right out the camera. The changing 745 00:44:17,640 --> 00:44:21,799 Speaker 1: the contrast, fixing the exposure, correcting the color. Heck, we've 746 00:44:21,800 --> 00:44:23,800 Speaker 1: gotten to a point now where a lot of the cameras, 747 00:44:23,880 --> 00:44:27,320 Speaker 1: inside phones, the apps have software that auto automatically do 748 00:44:27,440 --> 00:44:32,080 Speaker 1: certain enhancements to contrast or lighting, or to make sure 749 00:44:32,200 --> 00:44:34,920 Speaker 1: that things like red eye aren't a problem, that kind 750 00:44:34,960 --> 00:44:36,960 Speaker 1: of stuff, or in the past few years, you know, 751 00:44:37,440 --> 00:44:40,560 Speaker 1: putting the hashtag no filter on your Instagram photo when 752 00:44:40,560 --> 00:44:43,360 Speaker 1: you haven't put a filter that changes the quality of 753 00:44:43,400 --> 00:44:47,680 Speaker 1: the photos. That that kind of that that's kind of interesting. Yeah, 754 00:44:48,000 --> 00:44:51,200 Speaker 1: I I never I never really use filters occasionally like 755 00:44:51,600 --> 00:44:55,520 Speaker 1: Google Google Photo, well once in a blue moon. And 756 00:44:55,560 --> 00:44:59,360 Speaker 1: I don't know what the algorithm chooses as the criteria 757 00:44:59,440 --> 00:45:02,759 Speaker 1: for this, but will single out an image and do 758 00:45:02,960 --> 00:45:05,279 Speaker 1: an auto enhancement and show you what it looks like, 759 00:45:05,400 --> 00:45:07,719 Speaker 1: and it doesn't automatically share it, and you actually have 760 00:45:07,800 --> 00:45:11,239 Speaker 1: the option to say, you know, that's fine, awesome, forget it. 761 00:45:11,840 --> 00:45:13,880 Speaker 1: But I took a picture of my dog when I 762 00:45:13,960 --> 00:45:17,200 Speaker 1: was walking my dog in the woods of North Georgia. 763 00:45:17,280 --> 00:45:19,719 Speaker 1: We're right next to a river, and I just wanted 764 00:45:19,719 --> 00:45:22,480 Speaker 1: to take a picture of my dog because he had 765 00:45:22,520 --> 00:45:24,439 Speaker 1: never seen a river before, so this was a neat 766 00:45:24,480 --> 00:45:27,839 Speaker 1: experience for him. He was flipping out. Yeah, it was great. 767 00:45:28,200 --> 00:45:30,320 Speaker 1: So I took a picture of him. And I have 768 00:45:30,400 --> 00:45:33,719 Speaker 1: an Android phone, so my photos automatically back up to 769 00:45:33,920 --> 00:45:37,440 Speaker 1: my Google Photo account and I get a message a 770 00:45:37,440 --> 00:45:40,440 Speaker 1: little bit later and it says I've got an enhanced 771 00:45:40,719 --> 00:45:43,120 Speaker 1: image of my dog. So I pull it up and 772 00:45:43,239 --> 00:45:47,360 Speaker 1: it has added filters, so it looks almost like in 773 00:45:48,080 --> 00:45:52,520 Speaker 1: a painting, almost like a painting style. Um to the 774 00:45:52,560 --> 00:45:54,680 Speaker 1: point where I said, if this looked a little bit 775 00:45:54,719 --> 00:45:56,520 Speaker 1: more like a painting, it would be exactly the sort 776 00:45:56,560 --> 00:46:00,919 Speaker 1: of thing you would see in like a doctor's waiting room. Yeah, 777 00:46:01,200 --> 00:46:04,560 Speaker 1: very rockwelly and kind of thing. And so, uh, you know, 778 00:46:04,920 --> 00:46:07,759 Speaker 1: it's it's interesting we've reached this point now where the 779 00:46:07,840 --> 00:46:12,080 Speaker 1: photo manipulation, uh is happening on its own, like due 780 00:46:12,120 --> 00:46:15,680 Speaker 1: to algorithms. It's not even necessarily a human that's responsible 781 00:46:15,760 --> 00:46:18,280 Speaker 1: for it. Yeah, and I know you know something about 782 00:46:18,440 --> 00:46:21,760 Speaker 1: Google deep dreaming. I'm not too familiar with what exactly 783 00:46:21,840 --> 00:46:24,239 Speaker 1: what it does, but is there a quick way that 784 00:46:24,320 --> 00:46:27,000 Speaker 1: you could break it down? Sure? Google deep dream the 785 00:46:27,400 --> 00:46:30,840 Speaker 1: the purpose of it deep dream itself is kind of 786 00:46:30,880 --> 00:46:33,160 Speaker 1: an extension of what the purpose was. The purpose was 787 00:46:33,760 --> 00:46:37,280 Speaker 1: to look at an image and I'll grow them examines 788 00:46:37,320 --> 00:46:42,520 Speaker 1: an image and looks for examples of areas of that 789 00:46:42,600 --> 00:46:46,640 Speaker 1: image that it can enhance so that you can see 790 00:46:46,719 --> 00:46:51,600 Speaker 1: stuff in greater detail. So, uh, maybe there's um, like 791 00:46:51,880 --> 00:46:54,839 Speaker 1: a blurry photo of someone's face. It might be able 792 00:46:54,920 --> 00:46:58,880 Speaker 1: to bring those features into more more of a sharp 793 00:46:59,440 --> 00:47:01,640 Speaker 1: appearance that you can actually see who that person is 794 00:47:02,239 --> 00:47:04,280 Speaker 1: and it was. You know, it could be used for anything. 795 00:47:04,360 --> 00:47:06,440 Speaker 1: It could be used for facial recognition. It could be 796 00:47:06,600 --> 00:47:09,719 Speaker 1: used just to make an image look nicer. It could 797 00:47:09,760 --> 00:47:14,200 Speaker 1: be used to um to to look at old photos 798 00:47:14,400 --> 00:47:18,000 Speaker 1: and see if you can figure out, Like imagine opening 799 00:47:18,080 --> 00:47:19,920 Speaker 1: up a cold case. You've got this photograph of a 800 00:47:19,960 --> 00:47:21,719 Speaker 1: face and you've never been able to identify that person. 801 00:47:21,800 --> 00:47:23,640 Speaker 1: You use this technology to try and see if it 802 00:47:23,719 --> 00:47:25,640 Speaker 1: can at least make a guess as to what that 803 00:47:25,680 --> 00:47:29,279 Speaker 1: person actually looks like. That's the sort of thing it does. 804 00:47:29,360 --> 00:47:31,960 Speaker 1: So in a way, it's like the old science fiction 805 00:47:32,200 --> 00:47:36,040 Speaker 1: zoom and enhance, you know, that old, good old TV trope. 806 00:47:37,200 --> 00:47:39,560 Speaker 1: It's like that, but again it's making guesses. It's trying 807 00:47:39,600 --> 00:47:42,800 Speaker 1: to fill in gaps where data does not exist, so 808 00:47:43,160 --> 00:47:46,480 Speaker 1: it's looking for patterns. It's looking to try and insert 809 00:47:46,560 --> 00:47:49,960 Speaker 1: information into those patterns that would make the most sense, 810 00:47:50,040 --> 00:47:54,480 Speaker 1: which means that sometimes it makes mistakes. Well, the deep 811 00:47:54,520 --> 00:47:58,680 Speaker 1: dream part is is cranking that up to like eleven. 812 00:47:58,760 --> 00:48:01,319 Speaker 1: It's like over satury in the photo. It's like making 813 00:48:01,360 --> 00:48:03,560 Speaker 1: all the colors bleed. Except in this case, what it's 814 00:48:03,560 --> 00:48:06,160 Speaker 1: doing is it's saying, Hey, you know that pattern recognition 815 00:48:06,200 --> 00:48:08,160 Speaker 1: you have where you're looking for stuff that looks like 816 00:48:08,200 --> 00:48:11,000 Speaker 1: a face or whatever, or looks like a a plant 817 00:48:11,160 --> 00:48:13,120 Speaker 1: or a dog or a lizard, whatever it may be. 818 00:48:13,880 --> 00:48:15,920 Speaker 1: I'm going to turn that way up so that now 819 00:48:16,040 --> 00:48:17,840 Speaker 1: you're going to be looking for that even harder. So 820 00:48:17,960 --> 00:48:21,080 Speaker 1: anything that remotely looks like one of those things, you're 821 00:48:21,120 --> 00:48:24,080 Speaker 1: going to interpret that as a representation, and then you're 822 00:48:24,120 --> 00:48:26,200 Speaker 1: going to fill in the gaps. Like, hey, what if 823 00:48:26,239 --> 00:48:29,960 Speaker 1: that recognition software got real into psychedelic rock. Yeah, So 824 00:48:30,080 --> 00:48:33,120 Speaker 1: if you look at these Google deep dream images, some 825 00:48:33,280 --> 00:48:35,719 Speaker 1: of them like there's there's one in particular that's really 826 00:48:35,760 --> 00:48:39,680 Speaker 1: good at finding dog faces and everything. So you might 827 00:48:39,760 --> 00:48:42,120 Speaker 1: take a picture of a table that has a really 828 00:48:42,160 --> 00:48:44,879 Speaker 1: interesting wood grain to it and you throw it through 829 00:48:44,920 --> 00:48:47,520 Speaker 1: this Google Google Deep Dream and it just finds dog 830 00:48:47,600 --> 00:48:50,080 Speaker 1: faces everywhere, and it starts filling in the information so 831 00:48:50,200 --> 00:48:54,760 Speaker 1: that now it's just an HP love craft Ian horror 832 00:48:54,880 --> 00:48:59,320 Speaker 1: show of a table covered in dog faces, um or 833 00:48:59,520 --> 00:49:02,280 Speaker 1: like they're all out the pictures of like again taking 834 00:49:02,320 --> 00:49:04,400 Speaker 1: pictures of dogs, where you look at the picture of 835 00:49:04,440 --> 00:49:06,399 Speaker 1: the dog and it's looking at patterns in the fur, 836 00:49:06,560 --> 00:49:08,719 Speaker 1: and suddenly you see like all these other faces of 837 00:49:08,880 --> 00:49:13,560 Speaker 1: dogs emerging from these patterns of fur, and it definitely 838 00:49:13,600 --> 00:49:19,080 Speaker 1: starts to feel like you are in a trippy nightmare scenario, 839 00:49:19,719 --> 00:49:22,480 Speaker 1: like a nightmare, but you can close the browser window. Yeah, 840 00:49:22,600 --> 00:49:25,880 Speaker 1: so I'm sure that Salvador Dali would have said this 841 00:49:26,520 --> 00:49:30,800 Speaker 1: is amazing and it should be included on all cameras 842 00:49:30,840 --> 00:49:34,279 Speaker 1: and you should never be able to turn it off. Yeah, 843 00:49:35,120 --> 00:49:37,719 Speaker 1: because it is that kind of trippy sort of experience, 844 00:49:37,960 --> 00:49:40,719 Speaker 1: and it's all based again on on pattern recognition, only 845 00:49:40,760 --> 00:49:43,399 Speaker 1: in this case, it's recognizing patterns that are not really 846 00:49:43,760 --> 00:49:46,880 Speaker 1: representative of the thing. It interprets the mess. It's very 847 00:49:46,960 --> 00:49:48,560 Speaker 1: much the same thing as looking up at the clouds 848 00:49:48,600 --> 00:49:51,640 Speaker 1: and seeing a face. Now it's it's we humans do 849 00:49:51,760 --> 00:49:54,160 Speaker 1: this all the time. We see patterns where there really 850 00:49:54,360 --> 00:49:57,120 Speaker 1: isn't a pattern, Like we we recognize what appears to 851 00:49:57,160 --> 00:50:00,160 Speaker 1: be a pattern and something that's largely a chaotic syst um, 852 00:50:00,719 --> 00:50:03,600 Speaker 1: same sort of thing, and it's actually pretty fascinating. It's 853 00:50:03,640 --> 00:50:06,080 Speaker 1: a kind of artificial intelligence in a way. You might 854 00:50:06,160 --> 00:50:10,200 Speaker 1: call it artificial dumbness because it's misinterpreting. But yeah, so 855 00:50:10,320 --> 00:50:12,120 Speaker 1: this is not a lot of fun. Dylan. I gotta 856 00:50:12,160 --> 00:50:15,000 Speaker 1: thank you now. I promise listeners, I'm gonna have Dylan 857 00:50:15,040 --> 00:50:17,320 Speaker 1: on again. We're gonna do an episode in the future. 858 00:50:18,120 --> 00:50:21,080 Speaker 1: It's gonna be kind of a an introduction to to 859 00:50:21,360 --> 00:50:24,960 Speaker 1: the basics of photo editing, photoshop, that kind of stuff, 860 00:50:25,200 --> 00:50:27,200 Speaker 1: so that you understand what what the tools are. We 861 00:50:27,280 --> 00:50:28,799 Speaker 1: talked a little bit about it when you went into 862 00:50:28,960 --> 00:50:31,719 Speaker 1: what the different levels and an image can be. We're 863 00:50:31,719 --> 00:50:34,360 Speaker 1: gonna go into more detail in a future episode. And 864 00:50:34,480 --> 00:50:37,680 Speaker 1: I know that my number one question because I've already 865 00:50:37,680 --> 00:50:39,560 Speaker 1: told Dylan this is what's gonna be, and I've made 866 00:50:39,600 --> 00:50:43,040 Speaker 1: sure he doesn't tell me the answer. What the heck 867 00:50:43,200 --> 00:50:46,800 Speaker 1: is that magic wand for? So I'll tell you a 868 00:50:46,920 --> 00:50:50,520 Speaker 1: better way to do things? Excellent. So I look forward 869 00:50:50,560 --> 00:50:52,440 Speaker 1: to asking that for you to tell me and then 870 00:50:52,480 --> 00:50:54,640 Speaker 1: to tell me why I shouldn't use it. That's gonna 871 00:50:54,680 --> 00:50:59,080 Speaker 1: be in a future episode. Guys, if you enjoyed this episode, 872 00:50:59,200 --> 00:51:01,840 Speaker 1: please let me know. I'm gonna do my best to 873 00:51:01,920 --> 00:51:03,840 Speaker 1: make sure I get Dylan back in here to to 874 00:51:04,040 --> 00:51:07,279 Speaker 1: do some more shows. And if you have requests for 875 00:51:07,520 --> 00:51:09,840 Speaker 1: other topics, maybe there's something else you've always wanted to 876 00:51:09,920 --> 00:51:12,640 Speaker 1: know about. We we could even talk at some point 877 00:51:12,760 --> 00:51:16,360 Speaker 1: about how this kind of manipulation has extended over into 878 00:51:16,680 --> 00:51:20,360 Speaker 1: video form, going back to Star Wars, when the teaser 879 00:51:20,440 --> 00:51:23,600 Speaker 1: trailer for episode seven came out and the lightsaber that 880 00:51:23,760 --> 00:51:27,680 Speaker 1: had the two like the cross guard of the lightsaber 881 00:51:27,719 --> 00:51:29,480 Speaker 1: came out and then someone did it as it you know, 882 00:51:29,719 --> 00:51:32,320 Speaker 1: it went all the way up the blade like you like, 883 00:51:32,680 --> 00:51:35,520 Speaker 1: you know, just just lasers coming out of every every 884 00:51:35,600 --> 00:51:38,120 Speaker 1: surface of that lightsaber. That's the sort of thing that 885 00:51:38,440 --> 00:51:41,480 Speaker 1: is an extension of what we're talking about here. So 886 00:51:41,840 --> 00:51:43,680 Speaker 1: maybe we'll do an episode about that at some point 887 00:51:43,680 --> 00:51:45,239 Speaker 1: in the future, but you gotta let me know. Send 888 00:51:45,280 --> 00:51:47,759 Speaker 1: me an email. The addresses tech stuff at how stuff 889 00:51:47,760 --> 00:51:50,440 Speaker 1: works dot com, or drop me a line or Facebook, 890 00:51:50,600 --> 00:51:53,279 Speaker 1: Twitter or Tumbler. I use tech stuff h s W 891 00:51:53,560 --> 00:51:55,680 Speaker 1: as the handle at all three and I'll talk to 892 00:51:55,719 --> 00:52:04,840 Speaker 1: you again really soon. For more on this and thousands 893 00:52:04,880 --> 00:52:07,200 Speaker 1: of other topics. Is a house stuff works dot com